Henri Matisse’s painting, The Woman in a purple coat and Olga Merson have many similarities and differences. Both of these pieces are oil paintings that Henri Matisse produced. The Woman in the Purple coat and Olga Merson can by analyzed by description, how they are organized, interpretation and judgement to compare and contrast the two works of art.
The first way to analyze Henri Matisse’s paintings is to describe what makes up the works of art. In The woman in a purple coat, there are several obvious objects that can be seen, for instance there is the woman wearing a purple coat, a table holding a vase of flowers and fruits, and a magazine at the woman’s feet. The Woman in a purple coat is a still life, but how Matisse outlined some of the items in the painting
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Matisse uses color and light to express his emotions in the painting of The Woman in a Purple Coat. There are no straight lines, but how the lines juxtapose each other there is really no need for straight lines. Some items have no outline, for instance the fruit on the table. The purple coat that Lydia is wearing, is so bright and vivid and with the black outline it’s as if she could just walk out of the painting. Also this makes Lydia the focal point of the painting. This also gives the artwork an almost three dimensional quality, even though it is not three dimensional. The many patterns around the room give the illusion that she is sitting in the corner of the room. Also the vase of flowers and the magazine on the floor give the painting a sense of depth. Another thing that is intriguing about this painting is that Lydia has no emotion on her face, so it is almost up to the viewer to guess her emotion. Henri Matisse moved away from fauvism and bright colors, leaving him with the painting of Olga Merson. Similar to The Woman in a Purple Coat, the painting of Olga Merson also has no expression or emotion on her
The historical painting I chose for my final, is an illustration of Bret Harte’s novel, Her Letter, His Response, and Her Last Letter, creatively illustrated by Arthur Ignatius Keller in 1905. The historical painting I chose for the comparison of Arthur Keller’s painting is another painting done by Arthur I Keller; illustrated for 54-40 or Fight by Emerson Hough, in 1909. Arthur I Keller is a very natural, elegant style painter, with an eye for natural beauty. Keller’s many paintings express intricate detail, and genuine quality. Although I picked two water color paintings out of Arthur Keller’s many collections of paintings, he also uses charcoal, acrylics, oils, and pastels to create other works of art. In both paintings I chose, Arthur Keller uses water color and gouache to paint people. Arthur’s first painting I mentioned, illustrating “Her Letter” is a more detailed painting. Keller uses water color to create a graceful look to his painting; his delicate balance of color, keeps the viewer’s eyes wandering around the painting. The focal point in the painting does not catch the viewer’s eyes because of heavy, dark colors, but because of the proportion differences of the people he implies. The painting gives off a very old fashioned feel, in a tasteful way. Arthur Keller’s second painting, illustrating “54-40 or Fight” has a completely different color theme, and gives off more of a mysterious, dark feel to it. The painting is detailed, but in a more simple way, and there is less negative space. As to where Keller’s “Her Letter” painting had a lot of open areas on the canvas, this painting, displays two people in a small enclosed dark room. The focal point is more dramatic, and a lot more obvious because instead of using sizing,...
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
In art, lines are used to direct the viewer's attention from one part of the piece to another. Both Albani and Caron used this method with many different types of lines. For instance, in Augustus and the Sibyl, Caron uses the outlines of columns and a person's arm that is stretched skyward to lead the viewer's attention to the upper right corner, where they can witness the holy sight. In the same way, The Baptism of Christ shows a man holding a staff to direct the eyes up to the heavenly scene, but the implied lines of the rainfall in the background leans the view back towards the middle of the painting. There are other lines in both pieces, as well. Such as the staircases in Caron's piece and the diagonal lines of the tress in The Baptism of Christ.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
Her use of line is controlled and precise, deduced from the spatial reality and dimensions of the folds of their clothing. Gentileschi must’ve been delicate with her brush strokes to make the painting so detailed to the point of perfection. Her use of shape brings out the curves in both of the women’s physique, not to mention the way their clothing is wrapped around to their elbows, allowing the viewers to grasp the width of their lengthy arms. The viewers can differentiate that Gentileschi uses two-dimensional shape, however can also be seen as three-dimensional since Judith’s arm seems as if it is reaching out towards the viewer. The artist also associates with dark colors that are intense to define their actions. Including the red which could convey to the viewer as blood and the yellow light to invoke the viewers silence. Red could also represent evil, in this case it represents a sinful
The dominant line in this piece of art would have to be a straight line. To be precise, the vertical straight line is a vivid piece to this art. Within the art, you can also see shapes such as squares and rectangles. These four sided shapes are found in many different aspects of the artwork. For example, the buildings in the background are rectangles, and the border is full of rectangles and squares. The form of this art is clearly 2D, considering it is on canvas. Although, Ringgold did an amazing job at portraying a sense of 3D degression. The texture of this art is considered to be rough and clothlike. This is due to the fact that “Ringgold’s vehicle is the story quilt” within this work of art. (Spector, Nancy.) The space of this art could be described as busy. There is something new in each square of the quilt. There is also a large value change if you compare the inner middle of the artwork to the surrounding edges of it. The core of this piece of art is dark while the outside is light. The type of balance would be considered asymmetrical. There is also not a distinct pattern in this piece. Another detail to this artwork is that everything is in proportion. The only rhythm and movement found is the young girl in the sky looks as if she is flying. A strong contrast found is, again, the bright floral border compared to the dark picture inside. The pieces of this piece are bold and do not work together because they highly
Lines are the foundation of art; such as paintings, pictures, movies, cartoons, or T.V. shows. They create shapes and define the piece. “Bullitt in Pursuit” is no exception to this statement. In “Bullitt in Pursuit” all sorts of lines, whether they are curved, or straight create all sorts of things such as: the cars, the buildings, and the scenery. Lines also convey the sensation of speed by making everything blurry as if the entire painting is flying by at 100 mph. Without lines, the painting would appear virtually a blank canvas without any definition of the scene being depicted. Although a blank canvas could be considered art it would not be appealing to view. Although, everyone’s different and everyone has their own opinion on what they like to view. Colors add a depth to art that takes the visual appeal to a whole other level and enhance the effect of
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
The background of the painting is dark with hues of browns and reds. Light enters the painting from the left and can be seen on the tiled floor. The lighting helps to create the diagonal composition as it moves across the lower half of the painting. The contrast of light also creates space between the man and the woman fainting; symbolizing a disconnect between the two figures. The use of space is also interesting, Ahsauerus is alone and is enclosed in a corner, while Esther is being held by two other woman who are physically very close to her, not allowing any space between their clothes, suggesting a nurturing characteristic that is often stereotyped among
Throughout history art has played a major role in society. It started out with paintings and went to photography and eventually to films. Artistic interpretation depended on whom the artist was and what he or she wanted to present to the audience. When it came to portraiture, whether it was paintings or photography, the idea of mimesis was very important. However important this may have been, the portraits were mostly products of the media and fashions during that time period. Whatever was popular during the time was used such as columns or curtains in the background. The face was the main focus in the painting and there was little focus on the body. Later on during photography the body was focused on more. Even though photography was used much later after paintings were used, it allowed the artist even more artistic interpretation because of the ability to play a different role and not having to be ones self. The artists that will be focused on are Frida Kahlo and Cindy Sherman. They lived during different periods and their artistic intentions varied because of that. They also had similarities in that they thought outside of the conventional roles. These women were both self-portraiture artists and although they were considered that their interpretations did not always make their portraits self-portraits. Traditionally the artist was an outsider, but when it came to self-portraiture they became the subject and the audience became the outsider. The similarities and differences of Frida Kahlo and Cindy Sherman’s art were tied into the strength and also vulnerability they had because of their roles as women. They wanted the audience to see a background story to the portraits and not just an image of a beautiful face.
Henri Matisse’s Bonheur de Vivre (Joy of Life) is remembered as one of his greatest and daring Fauve Paintings that incorporates many different references from other painters. From Cezanne’s painting, The Large Bathers, Matisse uses Cezanne’s technique of painting trees to resemble a stage and shapes the leaves to flow like the curtain. Matisse also paints his women as mirrors to the trees’ outline, making them extremely curvy, just like Cezanne. From Ingres, Matisse took the sexuality and idea of how a woman should be, and from Titan Matisse incorporated the sense of pleasure and freedom. Matisse not only uses vivid colors that capture the senses of the beholder, but he also uses the idea of perception and painted his masterpiece in such a
This painting is a great example of asymmetrical balance. The angels are placed nearly exactly identical on each side of the throne. The angels themselves are sort of mirroring one another. Besides the navy cloak worn by the woman this painting does a great job at equally distributing the visual weight. The yellow hue is found to be consistent throughout. Giotto did a good job at blending and balancing the colors from yellow all the way to green. There is also a great deal of emphasis found throughout Giotto’s painting. The woman holding her child is definitely the main focal point of the painting because it is found directly in the center on a throne worshiped by angels. There is also a great deal of emphasis found on each character of the painting by the light yellow halo found above their heads. This does a good job at emphasizing everyone’s importance in the
The iconography of the picture could represent art in the view of the fauvists. Fauvists wanted to be free from tradition and natural colors. They wanted to be free to explore their world of colors as they saw fit. Fauvists and expressionists did not like to be held to strict rules when it came to painting. It could be that Le Bonheur de Vivre was a state in which they where trying to reach, but in reality could get never get there. On the other hand, could it be a place where they could only reach in their dreams? Critics have struggled with the interpretation of Matisse’s painting since the first display. That may have been Matisse’s meaning after all.
difference in this painting is that it has brighter colors and takes on more of a feminine
The mediums are not very similar, oil on canvas versus inks and dyes on brown paper, but both mediums contribute to the style and colour of the paintings. This drawing of mine also reflects the above-mentioned quote, as it depicts one of my ultimate scenes of comfort, a view into a life of graceful, carefree birds, similar to the contentment and pleasure that Matisse’s vivid goldfish and tranquil plants portray. The atmosphere and mood in the “Spoonbills” are influenced by this panting and its style: calm and tranquil , yet with exaggerated colour and